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文章以民族乐器改革为着眼点,提出了遵循着物理规律和人的演奏生理、演奏心理制约下的乐器形态。文章概述了前人对乐器音位的认识,并从音位概念出发简要分析了乐器与器乐创作的辩证关系;提出了乐器的音位与演奏生理、演奏心理的关系可以通过音位数(Y)、音位排列(P)、策动因数(W)、运律因数(U)和运律轨迹(L)五大要素来表达。文章认为,建立乐器音位——运律学,用这一新的方法论对乐器进行分类是对传统乐器分类法的突破。藉此,将重新认识乐器音位与运律的历史,并更加科学地预测乐器的未来形态。
The article takes the national musical instrument reform as the point of view, and puts forward the instrument form that follows the laws of physics and the performance physiology and the playing psychology of the people. The article summarizes the predecessors’ understanding of musical instrument phonemes, and analyzes the dialectical relationship between musical instruments and instrumental music from the concept of phonemes. The relationship between musical instrument phonemes and playing physiology and playing psychology can be described by the number of phonemes (Y ), Phonemic arrangement (P), actuation factor (W), fortune factor (U) and locus of motion (L). The article argues that the establishment of musical instrument phonemes - Yun-lu learning, using this new methodology to classify musical instruments is a breakthrough in the traditional classification of musical instruments. In this way, we will re-understand the history of the musical instrument’s phoneme and fortune-telling and predict the future shape of the instrument more scientifically.